Flow in martial arts
One of the most noticeable characteristics of Taiji and Bagua
is the continuous transformation of the postures. Contrast
this with Karate where there is an alternation of still, move,
still, move. Better Karateka maintain the potential for movement
in stillness, and so maintain a flow internally. But there
is clearly a difference in approach.
Flow is interesting in that it can apply on many different
levels, and across different timescales. Using the concept
of flow as a filter to view the world can lead to a different
awareness, and useful information.
The flow that is apparent in internal martial arts is a physical
one. It is the coordination of muscles joint and bones to
allow force from one part of the body to travel smoothly to
another part.
The force of the feet pushing into the ground is directed
through postural control to the hands. The better the posture
the cleaner the flow, less of that force from the feet gets
caught up in other parts of the body. This can become experientially
clear quite easily. Essentially it is just applied mechanics,
and nothing mysterious.
Classically these mechanics are the three external harmonies.
The shoulders harmonise with the hips, the hips harmonise
with the elbow, the hands harmonise with the wrists.
What controls the posture controls the flow. In internal
martial arts the mind controls the posture. This is described
by the three internal harmonies. Heart harmonises with intention,
intention harmonises with Qi, and Qi harmonises with power.
To achieve a good physical flow, the mind needs to lead the
body. In leading the body it cannot become fixed because the
posture is constantly adjusting and changing.
The same idea is found in the Yi Jing, in which nature is
seen as continuously transforming. The only constant is that
change is constant.
Photos of Taiji or other martial arts postures can be very
misleading. It is easy to become obsessed with the beautiful
climax of a movement. That moment where the hand reaches maximum
extension, where the kicking leg reaches its highest point.
To become obsessed and become fixed.
From a martial arts point of view this is lethal. It is precisely
at that most extended moment where there is greatest vulnerability.
It is the process of transition, how the movements gather
and leap from peak to peak that hold the secrets of power
and tecnique.
My teacher Luo says he has 'thief eyes'. He can
look and remember or understand techniques very quickly. He
puts this ability down to a childhood love of reading comics.
To make them more interesting he would use his mind fill in
the movement from static frame to static frame.
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